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Nobody's Business : Twenty-First Century Avant-Garde Poetics /
Since the turn of the new millennium, English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financia...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Ithaca, NY :
Cornell University Press,
[2013]
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Reed, Brian M. | |
| 245 | 1 | 0 | |a Nobody's Business : |b Twenty-First Century Avant-Garde Poetics / |c Brian M. Reed. |
| 264 | 1 | |a Ithaca, NY : |b Cornell University Press, |c [2013] | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2013 | |
| 264 | 4 | |c ©[2013] | |
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| 505 | 0 | 0 | |t Preface : What Now? -- |t In Praise of Obsolescence -- |t New Consensus Poetics and the Avant-Garde -- |t Mechanical Form and Avant-Garde Aesthetics -- |t Flarf, Folly, and George W. Bush -- |t Andrea Brady's Peculiar Dissidence -- |t Danny Snelson's Disco Operating System. |
| 520 | |a Since the turn of the new millennium, English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. This book treats the emergence of Flarf and Conceptual Poetry in a serious way. The author argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As the author of this book sees it, this generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions of art and calls into question the legitimacy of the institutions that define it. | ||
| 546 | |a In English. | ||
| 588 | |a Description based on print version record. | ||
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| 650 | 7 | |a Amerikansk experimentell poesi |x historia. |2 sao | |
| 650 | 7 | |a Amerikansk poesi |x historia. |2 sao | |
| 650 | 7 | |a Poetics. |2 fast |0 (OCoLC)fst01067682 | |
| 650 | 7 | |a Experimental poetry, American. |2 fast |0 (OCoLC)fst00918464 | |
| 650 | 7 | |a American poetry. |2 fast |0 (OCoLC)fst00807348 | |
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| 650 | 0 | |a Poetics |x History |y 21st century. | |
| 650 | 0 | |a Experimental poetry, American |x History and criticism. | |
| 650 | 0 | |a American poetry |y 21st century |x History and criticism. | |
| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628 | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
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| 945 | |a Project MUSE - 2013 Complete | ||